Heavenly Bodies: Fashion and the Catholic Imagination

Yale University Press

Based on an exhibition at the Met, Heavenly Bodies: Fashion and the Catholic Imagination is one opulently curated thing of beauty that in essence displays extremely beautiful artefacts, objects and designs, most of which find their origin in the Vatican and then went on to inspire and reverberate through the confines of haute couture, where religious and worldly takes on art eventually merged to become palatable for the mainstream for the twentieth and especially a renaissance in the twenty-first century.

The photos the tome is comprised of are pieces of art in themselves, which adds another dimension yet also a point of critique as the enhancement and fragmentation – which results in some garments invoking the impression that they are made of patchwork - of the photographic depictions sometimes goes at the expense of details and depths of the design, as it can prove to be difficult to make out specifically the construction and volume of the darker pieces – of which there are plenty: Austere clothes, altarpieces, artworks, accessories, et cetera – many of which have never been published before – are juxtaposed with recent collections of the big fashion houses, think Dolce & Gabbana, Lagerfeld, Gaultier, Alexander McQueens and Versace.

As a result of the highly stylized presentation of the photos, one has to rely a bit more heavily on the narrative and accompanying analysis instead of being enable to come to one’s own conclusions when it comes to the complex and more often than not controversial interaction and opposition between religion and boundary pushing fashion and art.

Heavenly Bodies: Fashion and the Catholic Imagination is a fantastic coffee table book that offers eye candy galore, yet it is not necessarily a reference / research book as it lacks the details and indulges more in aesthetic representation. What it definitely does accomplish is open one’s eyes for the genesis of what we perceive to be commonplace trends in both art and fashion.

Art and Violence in Early Renaissance Florence

Yale University Press

Creativity and extreme force. Diametrically opposed extremes or inextricably linked?

Art and Violence in Early Renaissance Florence explores this intriguing relationship with a focus on the epoch of an era known as “renaissance”, i.e. a time spanning the period from the fourteenth to the seventeenth century.

Now, the epoch of what basically means “rebirth” is not exactly known for holding back when it comes to the public display of violent rituals, be it in a religious context as in the ordeals our saviour and Good Shepherd was subjected to or punishments that were unleashed under the guise of law on wrongdoers.

What this tome zeros in on is that in an age that is known for being liberating and fertile ground for spawning progressive and enlightening ideas, there seemed to have been an appreciation and aestheticisation acts of violence, predominantly in the field of visual arts – the realms of artists like “il divino” Michelangelo, “the Elder” di Cosimo and sculptor Bertoldo di Giovanni, who seemed to be fascinated by depictions of lethal physical altercations and brutal battles.

What the book does well is exploring how each artist’s personal relationship with violence and art resulted from a fusion of their own backgrounds, political and religious influences and the images they created.

The fact that most emissions of artists rooted in the era of aestheticism exerted an immense influence on the evolution of all facts of the arts as we know it lends weight to the notion that there was a bit more to the fascination with evil and violence than a face value representation of the signs of times: It explore that it was an integral part of the DNA and that without it would have probably lacked both the impact and significance it had for generations to come.

An evening with Dale DeGroff

Kittyhawk

Sydney, Australia

August 3, 2018

There is no shortage of accolades that cocktail innovator, veteran bartender and envelope pushing coryphée Dale DeGroff has been decorated with over fifty years of being active in the realm of serving alcoholic quality concoctions with a twist, which is why it is not further wondrous that a world renowned liqueur brand like De Kuyper flew the man in to head the 2018 incarnation of their Works program.

De Kuyper’s The Works on terra australis is aimed at upskilling and educating both industry professionals as well as the curious wider public via a curated series of workshops that are held in key markets.

Proceedings were set off with one of deGroff’s trademark cocktails before the evening transitioned into him holding court with an entertaining presentation of how the bar and hospitality industries have evolved and morphed since he first stepped a foot into a bar well over thirty years ago. Tales of the Rhode Island native detailing what went down in iconic venues like the renowned and infamous Rainbow Room and how he reimagined classic cocktails through adding a twist via his idiosyncratic approach to mixology went down a treat.

In times of an abundance of themed bars and quality cocktails, we were catapulted back to a time when mixing a cocktail culminated in employing a soda gun and a prefabricated package of sour mix with the pinnacle of creations being a vodka martini.

From humble beginnings as a wanna-be actor, via his acquaintance with Joe Baum to his ascent landing a gig at the bar on the  top of the Rockefeller Centre via a prolonged stint at the West Coast, i.e. Hotel Bel-Air in Los Angeles, DeGroff’s storytelling was not devoid of highlights. Au contraire.

What was particularly interesting about from personal anecdotes, the evolution of bartending and mixology, were the creations that became benchmarks of his careers and how he was humbled when he was shown how punters taught him how to take what he thought was a Sidecar or a Margarita, which prompted his approach to cocktail making and enabled him to convert even hard-core gin haters with his juniper spirit based concoctions.

Needless to say that the stories had celebrity name dropping galore and was not devoid of fun facts that either tied in with popular cultural phenomena as well as political climates of the 1970s, 80s and 90s.

The evening was embedded in de Kuyper’s team proffering an array of delicious cocktails that each individual could have customised after a consultation with the engaging and forthcoming teams of bartenders, whose recommendations lead me to trying concoctions I usually not dabble in, which made me realise what I had missed out on before.

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Photos provided

Rev-Ale-ation – A Symphony of the Senses

Mosman Art Gallery

Sydney, Australia

August 5, 2018

Changing perceptions.

Expanding horizons.

Reimagining stories.

Inspiring enthusiasm.

Diminish stereotypes.

This and more what the entity known as Beer Diva has set out to accomplish fuelled by her passion, knowledge and enthusiasm for all things beer.

The underlying principle of her operation is to go far beyond of what most mere tastings have to offer: Through meticulously planned and curated events, experiences are created that invite the willing participant to become part of a journey that is designed to excite not on only the palate but all senses in equal measures.

Tonight’s Sydney incarnation of Rev-Ale-ation proved to be an example par excellence for how seemingly unrelated aspects can be married to create a holistic total that becomes much bigger than the sum of its individual components would hint at.

Driven by the expertise of someone whose expertise and background is informed by not only an intricate knowledge of the complexities and nuances of brews but also insights in culinary alchemy and the worlds of art, music and fashion; Kirrily Waldhorn is at the helm of operation with the main tenet being the creation of immersive experiences.

Rev-Ale-ation, her latest endeavour, offers the opportunity to enjoy speciality craft beers within the confines of places of worship, serenaded by operatic arias and sustained with artisanal cheeses.

Beneath the stained windows of Mosman’s Art Gallery, originally a Methodist Church designed by Burcham Clamp and Walter Burley Griffin built in 1915., world class Australian opera singers under the benign guidance of Liane Keegan, most prominently known for her portrayal as Erda in Opera Australia’s interpretation of Der Ring des Nibelungen, and accompanied by concert pianist and highly regarded operatic and orchestral conductor Simon Kenway, ales from Goose Island and 4 Pines were matched with a range of one-off handcrafted cheeses, courtesy of Milawa Cheese Company.

Each duo, i.e. cheese and beer, was married to a specific aria, which was chosen by the interprets after the tasting notes had been submitted to them to create a triumvirate that would not only feed off each other but also enhance each individual component.

While it was a pleasure to again sample the never disappointing Goose Island ales, e.g. its orange gold white headed, juicy and tart fruity Halia being the ideal welcome drink to ease into the evening; the blackberry and citrus dominated limited release Juliet, a rye beer aged in French oak being a new discovery and the reddish Belgian style Lolita, suitably framed by Rossini’s Una voce poco from Barber of Seville, being a reliable brew, the real rev-ale-ation came via an unexpected ménage a trois:

Usually not the biggest dark beer aficionado, matching the 4 Pines Stout with Milawa’s mild yet complex, buttery Markwood cheese while being serenaded by Mon Coeur souvre a ta voi from Samson & Deliah, won me over as it  resulted in a sensory experience that could not have been better orchestrated.

Rewarding experiences like this inspire one to revisit – or alternatively explore for the first time - flavours that one had already laid ad acta, which is where Beer Diva’s comes full circle.

A symphony of the senses indeed that generates a desire for more curated experiences by Beer Diva:

http://www.beerdiva.com.au/

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photos by @k.a. vv

Speed Rack Australia competition

Marble Bar

Sydney, Australia

July 29, 2018

Speed Rack, huh?

What comes to mind?

Sports?

Rollerderby?

A completion of sorts?

Speed Rack provides a forum to showcase female talent in a male-bro dominated bartender domain: Per definitionem it is an “Olympic speed bartending event”, i.e. a completion on national level that congregates the cream of the crop bartending ladies in key cocktail markets of this earthround. The ones that make it to the final round, compete with one another and battle it out in the final, where they need to create cocktails against a tight time limit and are then judged by a committee of industry veterans and luminaries.

Best part of the Speed Rack extravaganza is that it is all for a good cause: So far over $300,000 have been rallied for breast cancer research and every cent raised will continue to flow towards charitable initiatives.

After regional qualifiers in Brisbane, Melbourne and Perth, the Sydney incarnation of the Speed Rack finals, which took place at the Hilton Hotel’s beautiful Marble Bar, culminated in a dazzling display of respect for the craft of mixology, expertise, skill and, most importantly for the competition, speed and it is not difficult to see why Speed Rack has been deemed responsible for the elevation of women in the realm of mixology and cocktail creation.

Needless to say that an array of sponsors and their alcoholic contributions resulted in framing the event in a party atmosphere that the packed out crowd revelled in while the following top sixteen took the stage.

If you are keen to witness your local Speed Rack chapter in action check http://speed-rack.com/.

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Photos by @k.a. vv

Water of Life

Glenmorangie and Modus Operandi Boilermaker Dinner

Webster’s Bar

Sydney, Australia

August 1, 2018

Zanzibar, the ole faithful Newtown institution and after hour haunt, was a reliable drinking hall that had its doors wide open for the remnants of late nights. Its site has been taken over by Webster’s Bar, an operation that not only spruced it up a notch but also endeavoured to pay homage to the narrative and historic context of what was initially established by John and Eliza Webster as The Newtown Store, which gave birth to how the suburb was eventually named.

Comprised of three  levels, with the sophisticated prohibition style speakeasy themed bar and grill being the focus of tonight’s Boilermaker Dinner extravaganza, the top floor proffers views across busy King Street from the coveted astroturfed rooftop backyard bar and the ground level being an industrial, exposed brick, steampunk-esque saloon of sorts, Webster’s Bar appeal is the focus on bourbons and an eclectic selection of quality whiskies, including drops that are extremely hard to spot in regular bars.

The Glenmorangie Whisky / Modus Operandi Beer Boilermaker Dinner the middle floor with its low lighting, a working fireplace, arched stained glass windows and an array of secluded corners, proved to be a most suitable setting for what was about to ensue: A cuisine under the helm of Executive Chef Mark Cukeric that is dedicated to mainlining produce from terra australis, complemented by a melange of four rare expressions (and one of the core range) of Scotland Highlands Glenmorangie Distillery’s never not intriguing whiskies as well as three of the core range and two limited release beers from Sydney’s boutique Modus Operandi brewery.

Hosted by a tandem of the Spirits Ambassador for Moët Hennessy, Garth Forster, who took the guests of the evening through a guided tour through the history of the Glenmorangie Distillery and its unique distillation process, and a representative of accolade decorated Modus Operandi entertaining the sold out audience with the stories behind the inception of what materialized in our beer glasses over the evening.

The liquid emissions were not only matched with each other but rested on a foundation of a curated three coursed dinner, the cooking process of each course of which was infused with both the beer and the whisky.

Winners of the evening on the beer front were:

Modus Operand limited Former Tenant Red IPA: Describing it as “hoppy” would be an understatement par excellence – it is more than an apt homage to the ganja grower who inhabitated their site before the brewery was established, the fact that it is topped off with a caramel sweetness does not hurt either.

The Sonic Prayer IPA, a liquid tribute to the first album of psychedelic band Earthless: A delicious, citrusy and fruity melange of English and German malts resting on a bed of American and Kiwi hops. Let us not forget the always reliable MODUS Pale Ale and while the darker stouty brews received much praise on our table, they seemed a bit heavy especially as they were positioned towards the end of the evening. I personally find IPAs to be the perfect beer for a Boilermaker liaison.

Now, Glenmorangie.

I have been known for finding it hard to refuse a dram of their voluptuous Quinta Ruban Cask and dessert-like Nectar d’Or, but tonight’s offerings easily blew them out of the water:

Allow me to linger on two standouts:

Dornoch.

A limited Glenmorangie release, matured in classic bourbon and Amontillado casks giving it a palate reminiscent of caramel and nuts based on a fruity, softly spiced nose and framed with a peaty depth. Gimme peat and I am in. Delicious.

The highlight of the night was strategically placed at the end of the night: Glenmorangie’s Signet.

Rich.

Melting sweetness.

Explosions of spice.

Sherry-esque and hints of bitterness.

What might sound oxymoronic and mutually exclusive are the contrasts that don’t clash but form the fusion of deliciousness that Signet masters.

While the Signet was the cherry on top of a great evening, it was amplified by the main course that preceded it: Overnight Dornoch Whisky cured braised beef cheeks with Dijon whipped potatoes, spiced beetroot puree, fried Brussel sprouts and hazelnut butter. Without trying too hard, the symphonies on a plate not only accentuated the drinks of the evening but the nuances of hearty and more subtle flavours was a thing of beauty that crowned an expertly curated evening at one of Sydney’s most promising newer venues.

Apart from regular special events not unlike the one we had the pleasure of visiting, peeping Webster’s Bar for its Whisky Wednesdays, where you get twenty percent off and can zero in on those rare drops you’ve always wanted to try, should be on anyone’s radar who is remotely into quality spirits - one of which is Webster’s own limited edition collaboration with Woodford Reserve that can only be obtained within the confines of their bar.

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Photos by @k.a. vv

Read more Water of Life entries here.